Tuesday, February 14, 2012

12. The inside story of words


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In anticipation of other such texts with more complex rephrasing, and in the hope that it has whetted your appetite for dictionary work – which is essential for someone who wants to capture meanings – here is the full text on plastic surgery:

<<AMERICAN TEENS AND BODYBUILDERS SEEK COSMETIC IMPROVEMENTS
[Adapted from "The Secret of Life", in Distinction by Mark Foley and Diane Hall]

The Californian obsession with physical perfection is no longer confined to middle-aged women. Across the United States teenagers are going under the knife, financed and encouraged by doting parents who believe bodily perfection to be a more desirable birthday present than a stereo or a car. And in Beverley Hills surgeons have developed a technique by which men no longer have to spend hours in gyms to achieve bulging muscles.
  Tiffany White, a schoolgirl aged seventeen from suburban Los Angeles, never liked her ' chubby cheeks. ‘A lot of people said I looked like Bette Midler and that really bothered me,’ she said. In the old days she would have had to lump it. But this year she joined thousands of other American teenagers in opting for surgery and had the fat vacuumed out and her nose remodelled while she was at it. Once the domain of the rich and vain, aesthetic surgery, as the practitioners prefer to call it, is doing wonders for adolescent self-esteem and making millions for doctors, at the same time prompting qualms among professional bodies.
Teenagers have become a big market for plastic surgery,’ said Dr Martin Sullivan, an Illinois surgeon who says between eight and ten teenagers consult him every month. Some surgeons estimate that teenagers account for 25 per cent of their business. According to the latest figures, last year 117,000 teenagers under eighteen had rhinoplasty (or ‘nose-jobs’). Almost as many had ear-pinning, followed by chin augmentation and then dermabrasion - a sort of sandpapering technique which removes acne scars from the skin. A small but increasing number of Asian teenagers are having blepharoplasty, an eyelid operation which produces a more rounded Caucasian look. The use of silicone muscle to correct deformities has been widespread for some time, but plastic surgeons now report that 20 per cent of their clients are males seeking decorative muscles. In Beverley Hills Dr Mel Bircoll has turned more than fifty puny thoraxes into brawny specimens using a technique which inserts two or three lumps of silicone into the chest through a small nick in the armpit. Aside from chest muscles, surgeons report that the next most popular operation is to the cheeks and jaw. ‘People want the square-featured Schwarzenegger look,’ said Dr Darryl Hodgkinson. While many surgeons do not believe artificial muscles for males will ever catch on in a big way, they are optimistic about the growth prospects for teenage cosmetic surgery. They argue that surgery can help cure the insecurity and the self-consciousness that comes from a lack of self-esteem. >> 
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Undoubtedly, this is only one of the many articles which tackle the subject of physical perfection. There are also some very good ideas that came up in your posts, among them the importance of the genetic factor; these will be the basis for future posts, and – it goes without saying –aren’t meant to talk you out of posting your comments to any of the articles published so far, on the contrary! Feel free to express your opinion for as many of them as you wish, as many times you like: they will all become threads for future comments. 

But let’s take a little break, shall we? This goes to all those linguists who patiently gather the meaning of words and phrases and foster language along the years so that we, restless consumers of information, may render our ideas more clearly and precisely.

There is at least one hidden story behind each word – well, not really, there are some words with such a long and winding history that it would be practically impossible to keep track of their adventure.

This one goes in memoriam to John Lennon and George Harrison on behalf of Paul McCartney – a song with <simple> lyrics, re-mastered and offered to audiences all over the world: Blackbird, which came as a revelation of what the spirit of togetherness may create in an artist’s rich and powerful inspiration.   
There are two meanings to this song: there’s the actual bird, which may mean something only for those who live close to open spaces (a lot more could be said about the British use of bird for what is known as chick in General American). There’s another, hidden meaning emerging form what inspired Paul to write the song. While on a tour across America, McCartney heard a woman screaming and saw a lot of police cars pulling up. The police had her handcuffed and beaten. An enormous crowd had gathered, and Paul thought the black woman had committed a crime. It turned out that all she did was to sit in the whites’ section. You can notice Paul’s shock in the adjectives he used: dead, dark, sunken, broken, black; they all speak of unfairness. So also, the verbs are powerful vehicles evoking the common history of black people: fly, singing, free, arise, waiting, see. There is also the sound of a foot beating in the background: at McCartney’s insistence, a metronome had to be used, and so evoke footsteps – the marching of all the African Americans along their history. 


Saturday, February 11, 2012

11. Beauty Is in the Eye of the Beholder


A week has passed and I can’t help noticing that the questions in the previous two posts have been left unanswered. Surely it can’t be because there are few good dictionaries around?

The questions were meant to open a new topic, since we all know and comment on the obsession with physical beauty. Marilyn was far from being obsessed with it in the same sense as we use the term today, for she was endowed naturally with beauty by even the most rigorous standards. 
What was a case in point in the previous post had to do with language. Use late in the structure I’m sorry (no comma, no pause!) I’m late and everybody will understand that you apologize for not being punctual, or for not arriving on time.  People who are latecomers arrive late for their appointments, and it seems they can’t help it – that is, latecomers suffer from lateness by definition.
 
But use the same word (as an adjective) before a noun – or a name (as in the case of Marilyn to refer to the actress’s renowned lateness) and the only meaning you will get is that the person has passed away. Needless to say, we could do better than to associate the presenter’s cruel joke with the fact that Marilyn had at the time some eighty days left to live; we might assume instead that he insisted on being “witty” in front of the 15,000 people in the hall, at the same time doing his best to cheer up the president (his brother-in-law) celebrated on the occasion.

Which sends us back in time to where we left the “thread”: dictionary work. Without this invaluable tool, I’m afraid the next two posts will seem a bit obscure. In fact, they are the facets of one of the most highly topical subjects these days: physical perfection.

So, what is your idea of physical beauty?
Is it true that ‘beauty is in the eye of the beholder’ as a former post was trying to prompt you to answer, and has now become the title of the present post?
Do we have a uniform concept of physical perfection?

Few people are born with a ‘perfect’ body. But what does ‘perfect’ mean? Should we take it to mean the Golden Myth of Perfect Proportions in Leonardo da Vinci’s  sketch of the Vitruvian Man?

What happens when people are dissatisfied with their physiques?
You will find out in the article below.

Monday, February 06, 2012

10. Power, Glamour, and Language Traps (II)

It was May 19th, 1962 (that’s almost fifty years ago), and more than 15,000 people were gathered at the old Madison Square Garden to attend a birthday gala – well, not an ordinary one, for we are speaking of none other than the celebration of John Fitzgerald Kennedy’s birthday. Organized ten days before the actual day of his 45th birthday (Tuesday, May 29), it was based on a script – nothing out of the ordinary here, as this has been part of show biz since the beginning of 20th Century entertainment.
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Several show presenters were scheduled to enact the script. Monroe was to be introduced by English-American actor Peter Lawford – himself a member of a group of actors originally centred on Humphrey Bogart; whether his artistic career is now remembered is of little importance; what really matters, though, is his relation to the protagonist of the gala: brother-in-law to US President JFK, he was perhaps more noted in later years for his off-screen activities as a celebrity than for his acting.

Marilyn sang the traditional "Happy Birthday to You" lyrics, with "Mr. President" inserted as Kennedy's name, and continued the song with a snippet from the classic song, "Thanks for the Memory", for which she had written new lyrics specifically aimed at Kennedy.
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Thanks, Mr. President
For all the things you've done
The battles that you've won
The way you deal with U.S. Steel
And our problems by the ton
We thank you so much
Sung in a sultry voice, the song cued President Kennedy’s own stage intervention: it enabled him to joke and to allude to Monroe's delivery, her racy dress, and her general image as a sex symbol saying, "I can now retire from politics after having had Happy Birthday sung to me in such a sweet, wholesome way."

But all this happened after Marilyn’s <sweet, wholesome> delivery. What happened before her performance was a number of introductions throughout the night; each time the hall echoed with murmurs of expectation – but she did not appear in the limelight waiting to spot her. Why wouldn’t she?
Apart from having difficulty in remembering lines during production, Marilyn was known to suffer from stage fright, and be late at rehearsals. The actress’s very “flaws” provided Lawford with the momentum of his performance, for they enabled him to make a play on the actress's lateness: as she finally came on stage several hours into the show, he introduced her as the "late Marilyn Monroe".
Needless to say, you’ll have to look words up in a dictionary in order to answer the questions below:
What kind of language play is this?
How do you take the joke?
Do you think that Marilyn knew about it, and accepted it, or – on the contrary – that it was perhaps Lawford’s cherished trump?

Sunday, February 05, 2012

9. Power, Glamour, and Language Traps (I)

First things first:

Who could the woman in the restaurant be?
How would you describe her character?

At the time Harry Patterson (as Jack Higgins) wrote the novel, Marilyn's short, intense life "wasn't exactly news any more," or at least this is what the male character says. What do you think about it?
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There's a second conversation the man and the woman had - this time on the phone. We are not told what happened after all, but we do have the privilege of hindsight, albeit because we were born after the events recounted in the novel.

You must have already noticed there's a gapped text for Use of English inserted in between the two conversations in the previous post; here's the full version:
<<'You had better decide quickly whether you want the letters or not,' she said. I took another sip/drink of my champagne, and said nothing.
'$100,000 is nothing to pay for them. They're Marilyn's letters! Marilyn Monroe's letters! I can prove that she wrote them!' Her voice was getting/becoming louder and louder. She seemed to have forgotten her fear/suspicion/anxiety that someone might be listening to us. I thought about what/everything she had said. If the letters really were Monroe's, they could be worth that much money or even more. It all depended on what was in them, of course.
   I told her I would have to see the letters first and that I wanted a handwriting expert to examine them as well.
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  'All right,' she answered. I waited for her to continue. She did. 'But only on one condition.'
'  'What's that?' I asked.
   'I want $10,000 in cash, before anyone sees the letters!'
'I'll have to think about that,' I said.
She got up to go. She had taken only a few bites of the salmon she had ordered.
'All right. I'll get in touch/contact with you tomorrow at your hotel. If you haven't made up your mind by then, the letters go to someone else!'

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After/When she had left, I asked the waiter if he knew her name.
'Didn't she tell you?' he asked.
'I wouldn't be asking if she had,' I answered.


'Really? Then obviously she didn't want you to know, did she?' he said, casually waving/holding/dropping the bill in front of me.>>

Had it not been for the implications the canons of beauty have in our daily lives, this "old" topic would have stopped right here; but it seems that beauty and the desire to be forever young deserve some more attention as topics of the 21st century. At least that's what turns out from Norma Jean's intense existence, and that's why the title of this blog entry tries to suggest more: that the Marilyn myth is still past forgetting.

Looking forward to your comments from the perspective of the generation gap.

Thursday, February 02, 2012

8. Forever young: the Marilyn myth

The following passage is from the radio adaptation of a novel called Dark side of the street which takes place in Los Angeles.

[Now, what is amazing indeed is that Harry Patterson, the writer, is a prolific author of some sixty best-selling thrillers published under pseudonyms like Martin Fallon, Hugh Marlowe, James Graham, Jack Higgins, and himself. Dark side of the street belongs to the Paul Chavasse series in his Jack Higgins authorship].

The Woman without a Name
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A man and a woman are sitting in an expensive restaurant in Beverly Hills, not far from Hollywood.They are looking at a photograph of two people, which the woman has brought  with her.


A: You know who she is, I suppose.
B: Of course. And the man? Who's he?
A: Carl Earlham. Ever heard of him?
B: No, I'm afraid not.
A: He was one of her favourite photographers. He was her friend...he spent a lot of time with her just before she died, in '62.
B: Where is he now? What's he doing?
A: He's dead. He died last year. I knew him well. Very well. Do you understand?
B: I think so.
A: Well? Are you interested?
B: In what?
A: In using the information in the book you’re writing about her, of course. You are doing some research into her death, aren't you?
B: Yes, but . . . I'm not sure. How did you know I was writing such a book?
A: Someone told me.
B: Who?
A: Just a friend. I have a lot of friends.
B: What's the name of your friend?
A: That doesn't matter! The only thing that matters is whether you want the information or not.
B: What information?
A: It's all in the letters.
B: Letters? What are you talking about?
A: She wrote Earlham several letters before she died. She told him all about things like her relationship with someone very . . .
B: Look. A lot of people say they've got letters like that. And just about everyone in Hollywood can tell stories about what happened just before she died.
A: What I've got isn't a story. I'm not making it up! It's the truth. In her own handwriting. I can prove she wrote the letters. And what's in them is dynamite. Pure dynamite.
B: Are you sure? It isn't exactly news any more, is it? It happened more than 25 years ago.
A: It's still dynamite.
B: How did you get hold of these letters?
A: I told you. I was Earlham's friend. We were . . . very close. He gave me the letters before he died. Well? Do you want to see the letters?
B: That depends.
A: On what?
B: On what you want in return.
A: Money, of course.
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B: I thought so. How much?
A: $100,000.
B: That's a lot of money.
A: Yes, and it's worth it! Every penny. Look, I hope you understand what I'm offering you. Letters. Her letters. Some of which she wrote only a few days before she died.
B: Yes.
A: Yes? Yes, what?
B: Yes, I understand.

Sunday, January 29, 2012

7. To bug the bugger

It's time to unveil the secrets of the twenty gaps.

Harry Caul (Hackman) is a paranoid surveillance expert running his own company. Caul is obsessed with his own privacy; his apartment is almost bare behind its triple-locked door, he uses pay phones to make calls and claims to have no home telephone, and his office is enclosed in wire mesh in a corner of a much larger warehouse. Caul is utterly professional at work, but he finds personal contact difficult. He is exquisitely uncomfortable in dense crowds and withdrawn and taciturn in more intimate situations; he is also reticent and secretive with work colleagues. He is nondescript in appearance, except for his habit of wearing a translucent plastic raincoat virtually everywhere he goes, even when it is not raining. Despite his insistence that his professional code means that he is not responsible for worrying about the actual content of the conversations he records or the uses to which his clients put his surveillance activities, he is in fact wracked by guilt over a past wiretap job that left three persons dead; his sense of guilt is sharpened by his devout Catholicism. His one hobby is playing along with his favourite jazz records on a tenor saxophone in the privacy of his apartment. 
 

Caul has taken on the task of monitoring a couple's conversation as they walk through crowded Union Square in San Francisco. This challenging task is accomplished, but Caul feels increasingly agonized over his doubts about the actual meaning of the conversation and about what may happen to the couple once the client hears the tape. He plays the tape again and again through the movie, refining its accuracy (by catching one key — though crucially ambiguous — phrase hidden under the sound of a street musician: "He'd kill us if he got the chance") and constantly reinterpreting its meaning in the light of what he knows and what he guesses. 
Caul avoids handing in the tape to the aide of the man who commissioned the surveillance; he then finds himself under increasing pressure from the aide and is himself followed, tricked, and listened in on, the tape eventually stolen from him in a moment when his guard is down. Caul's appalled efforts to forestall tragedy ultimately fail — because, it turns out, the conversation doesn't mean what he thought it did, and the tragedy he anticipated isn't the one that eventually happens. In the final scene of the film, Caul discovers that his own apartment is bugged and gradually takes it to pieces in an unsuccessful effort to discover the bug, eventually destroying everything there (even, after a moment of hesitation, his plastic figurine of the Madonna) except for his beloved tenor saxophone: at the film's end he's left sitting amidst the wreck, blowing a solo.

Friday, January 27, 2012

6. Keep an eye on the bigger picture

No, the catchphrase is not mine: it is part of the script of Exit through the Gift Shop, one of those contemporary crazes on graffiti and the secrecy of the underground; but it serves my purpose this time, for the series of paradoxes is far from being over.

My eye has been caught in the intricate maze of a classic. And, while giving me food for thought, it set the scene for some detective work - on your behalf.
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Fill in the following gaps with one word from the table below. There are five words you do not need to use.
[Note: Any comment on the film, or on the message of this synopsis are welcome, but publishing a version of your gap-filling activity is counter-productive. The full text will be published in just a few days' time].

  The Conversation
                                          Fill in the following gaps with one word from the table below. There are five words you do not need to use.
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Harry Caul (Gene Hackman) is a paranoid surveillance expert running his 1. ___________ company. Caul is obsessed with his own privacy; his apartment is almost bare behind its triple-locked door, he uses pay phones to make calls and claims to have 2. _________ home telephone, and his office is enclosed in wire mesh in a corner of a much larger warehouse. Caul is utterly professional at 3. _________, but he finds personal contact difficult. He is exquisitely uncomfortable in dense crowds and withdrawn and taciturn in 4. _________ intimate situations; he is also reticent and secretive with work colleagues. He is nondescript in appearance, 5. ________ for his habit of wearing a translucent plastic raincoat virtually everywhere he goes, even when it is not raining. 6. _________ his insistence that his professional code means that he is not 7. _________ for worrying about the actual content of the conversations he records or the uses to which his clients put his surveillance activities, he is in 8. _________ wracked by guilt over a past wiretap job that left three persons dead; his sense of guilt is sharpened by his devout Catholicism. His one hobby is playing along with his favourite jazz records on a tenor saxophone in the 9. _________ of his apartment.


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Caul has taken on the task of 10. _________ a couple's conversation as they walk through crowded Union Square in San Francisco. This challenging task is accomplished, but Caul feels increasingly agonized over his 11. _________ about the actual meaning of the conversation and about what may happen to the couple once the client hears the tape. He plays the tape again and again 12. _________ the movie, refining its accuracy (by catching one key — though crucially ambiguous — phrase 13. _________ under the sound of a street musician: "He'd kill us if he got the chance") and constantly reinterpreting its meaning in the light of 14. _________ he knows and what he guesses. Caul avoids handing in the tape to the aide of the man who commissioned the surveillance; he then finds himself 15. _________ increasing pressure from the aide and is himself followed, tricked, and listened in on, the tape eventually 16. _________ from him in a moment when his guard is down. Caul's appalled efforts to forestall tragedy ultimately fail — because, it turns 17. _________, the conversation doesn't mean what he thought it 18. _________, and the tragedy he anticipated isn't the one that eventually happens. In the final scene of the film, Caul discovers that his own apartment is 19. _________ and gradually takes it to pieces in an unsuccessful effort to discover the bug, eventually destroying everything there (even, 20. _________ a moment of hesitation, his plastic figurine of the Madonna) except for his beloved tenor saxophone: at the film's end he's left sitting amidst the wreck, blowing a solo.
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AFTER            DOUBTS        HIDDEN                 OWN                         STOLEN
APART            EVEN             MONITORING       PERSONAL             THROUGH
BUGGED        EXCEPT        MORE                       PRIVACY                 UNDER
DESPITE        FACT              NO                             RESPONSIBLE      WHAT
DID                  FEARS           OUT                          ROBBED                  WORK


Whether it's worth commenting upon, well, it's for you to decide.

Sunday, January 22, 2012

5. To choose, or not to choose, to do something -

- That's the paradox!

The topic was already announced in the previous post.
Now it's time to read.
And listen.
And [try to] understand.
          FUTURES NATURE |Vol 436|7 July 2005

What’s expected of us


 A predictor
It’s a tough choice…
                                                                   Ted Chiang
"This is a warning. 
Please read carefully.

By now you’ve probably seen a Predictor; millions of them have been sold by the time you’re reading this. For those who haven’t seen one, it’s a small device, like a remote for opening your car door. Its only features are a button and a big green LED. The light flashes if you press the button. Specifically, the light flashes one second before you press the button.

Most people say that when they first try it, it feels like they’re playing a strange game, one where the goal is to press the button after seeing the flash, and it’s easy to play. But when you try to break the rules, you find that you can’t. If you try to press the button without having seen a flash, the flash immediately appears, and no matter how fast you move, you never push the button until a second has elapsed. If you wait for the flash, intending to keep from pressing the button afterwards, the flash never appears. No matter what you do, the light always precedes the button press. There’s no way to fool a Predictor.

The heart of each Predictor is a circuit with a negative time delay — it sends a signal back in time. The full implications of the technology will become apparent later, when negative delays of greater than a second are achieved, but that’s not what this warning is about. The immediate problem is that Predictors demonstrate that there’s no such thing as free will.

There have always been arguments showing that free will is an illusion, some based on hard physics, others based on pure logic. Most people agree these arguments are irrefutable, but no one ever really accepts the conclusion. The experience of having free will is too powerful for an argument to overrule. What it takes is a demonstration, and that’s what a Predictor provides.



Cat's Eye Nebula

Typically, a person plays with a Predictor compulsively for several days, showing it to friends, trying various schemes to outwit the device. The person may appear to lose interest in it, but no one can forget what it means — over the following weeks, the implications of an immutable future sink in.

Some people, realizing that their choices don’t matter, refuse to make any choices at all. Like a legion of Bartleby the Scriveners, they no longer engage in spontaneous action. Eventually, a third of those who play with a Predictor must be hospitalized because they won’t feed themselves. The end state is akinetic mutism, a kind of waking coma. They’ll track motion with their eyes, and change position occasionally, but nothing more. The ability to move remains, but the motivation is gone.

Before people started playing with Predictors, akinetic mutism was very rare, a result of damage to the anterior cingulate region of the brain. Now it spreads like a cognitive plague. People used to speculate about a thought that destroys the thinker, some unspeakable lovecraftian horror, or a Gödel sentence that crashes the human logical system. It turns out that the disabling thought is one that we’ve all encountered: the idea that free will doesn’t exist. It just wasn’t harmful until you believed it.

Doctors try arguing with the patients while they still respond to conversation. We had all been living happy, active lives before, they reason, and we hadn’t had free will then either. Why should anything change? “No action you took last month was any more freely chosen than one you take today,” a doctor might say. “You can still behave that way now.” The patients invariably respond, “But now I know.” And some of them never say anything again.

Some will argue that the fact the Predictor causes this change in behaviour means that we do have free will. An automaton cannot become discouraged, only a free-thinking entity can.

The fact that some individuals descend into akinetic mutism whereas others do not just highlights the importance of making a choice. Unfortunately, such reasoning is faulty: every form of behaviour is compatible with determinism. One dynamic system might fall into a basin of attraction and wind up at a fixed point, whereas another exhibits chaotic behaviour indefinitely, but both are completely deterministic.

I’m transmitting this warning to you from just over a year in your future: it’s the first lengthy message received when circuits with negative delays in the mega-second range are used to build communication devices. Other messages will follow, addressing other issues. My message to you is this: pretend that you have free will. It’s essential that you behave as if your decisions matter, even though you know that they don’t. The reality isn’t important: what’s important is your belief, and believing the lie is the only way to avoid a waking coma. Civilization now depends on self-deception. Perhaps it always has.



René Magritte. The False Mirror

And yet I know that, because free will is an illusion, it’s all predetermined who will descend into akinetic mutism and who won’t. There’s nothing anyone can do about it — you can’t choose the effect the Predictor has on you. Some of you will succumb and some of you won’t, and my sending this warning won’t alter those proportions. 

So why did I do it?
Because I had no choice."
  • Listen to the audio short story here:
       What's expected of us                                                                                                      
Ted Chiang is an occasional writer of science fiction. His work can be found in his collection Stories of Your Life and Others, published by Pan Macmillan.
© 2005 Nature Publishing Group


Thursday, January 19, 2012

4. To dream the impossible dream

...or shall I say To pass the impassable ice ridges

This is the full text offered as an open cloze in Use of English:

'"In 1914, Ernest Shackleton, the famous polar explorer, headed towards Antarctica in the Endurance. He and his twenty-eight companions intended to cross Antarctica on foot.
 
"However, their ship became stuck in the ice, and, although it had been built for these conditions, was slowly crushed by the pressure of the ice. It was not possible for Shackleton and his men to travel over the frozen sea to the nearest land, four hundred kilometres away, because the ice was not flat and smooth. It was raised up into high ridges which / that were often impassable. Moreover, the ice was breaking / broken up into large pieces which moved according to the wind and current.
 
"During their six months on the ice, Shackleton's men survived by eating their dogs, and penguins and seals if / when they could catch them. Eventually, they reached Elephant Island, which was uninhabited. In a small boat they had taken from the ship, Shackleton and six of his men sailed for over eight hundred miles to another / an island where they knew there was a whaling-station, and therefore food, shelter and a radio. Their boat landed on the wrong side of the island and they had to climb a mountain range and march sixty kilometres to safety. Shackleton then arranged for a ship to collect his twenty-two companions on Elephant Island.
 
"It is because of his superb powers of organization and leadership that all his men survived this terrible experience.'"

Indeed, Shackleton's example of Man's  freedom to choose seems to belong to the Heroes of old; the Scientific Era (our existential bubble!) tells us that it may lead to paradox, for one can choose not to do anything. They call it the paradox of choice; and it will carry us closer to science fiction than we are willing to admit. 

3. En attendant Wikipedia

What a difference a day makes - twenty-four  little hours without the Free Internet! Millions of people worldwide searching for information to no avail, redirecting their attention to other sources, groping in the dark alleys branching from the information highway. Very strange.

We might as well bind our time a little and try to resolve the <Shackleton enigma>.

Mawson's expedition
The search for Antarctica was the last great adventure of global exploration. It's an epic tale spanning centuries of high adventure, from the "unknown southern land" of the ancients to the first recorded sightings of the continent in 1820. Antarctica was finally explored, and plundered, during an Age of Discovery by whalers and sealers who ventured into icy waters below the Antarctic Convergence. Then came a Heroic Era, when the great explorers such as Robert Scott, Ernest Shackleton, Douglas Mawson and Roald Amundsen ventured ever deeper into the vast whiteness of the interior, in search of the final "holy grail" of discovery, the South Pole.

With the coming of the Mechanical Era, aeroplanes replaced huskies as the vehicle of choice for conquering a continent. Finally came the advent of the Scientific Era, and the lessons of the 18-month-long International Geophysical Year (1957-1959), which shed the light of knowledge on Antarctica. The land's history reaches a pinnacle with the signing of the Antarctic Treaty, protecting the last continent for future generations and centuries. 

Amundsen's camp
The impetus for the Heroic Age of Antarctic Exploration came from a lecture given to the Royal Geographical Society in London in 1893 by Professor John Murray of the Challenger oceanographic expedition, who encouraged the scientists  "to resolve the outstanding geographical questions still posed in the South." We might as well infer that it was a good speech, provided that scientific societies were called upon to promote the cause of Antarctic exploration, and they did honour the call; what is more, it is by no means easy to find someone willing to readily donate money for such abstract causes as discovering the  poles of the Earth. It seems that Shackleton had considerable fund-raising skills, for he managed to convince quite a few magnates to donate at a time when WW I was about to start.

Why Shackleton instead of Scott, or Amundsen? Well, simply because the Shackleton-Rowett, or Quest Expedition, coinciding with the date of Shackleton’s death (5th Jan 1922), marked a turning point in scientists' and explorers' attitudes. They somehow gave up their goal, which was as abstract as a pole, and their ideal - national honour - shed its moral dimension (for in those times it mattered not only what was done but how it was done). 
Shackleton's Endurance

Be as it may, Shackleton and his men seemed to endure far greater adversities and twists of fate than the explorers taking part in the other expeditions. A lecturer in the periods between expeditions, Shackleton became well-known for his enthusiasm, which secured a place for his remembrance in later decades. On his death he was praised in the press, but thereafter largely forgotten, while the heroic reputation of his rival Scott was sustained for many decades. At the end of the 20th century Shackleton was "rediscovered", and rapidly became a cult figure, a role model for leadership as one who, in extreme circumstances, kept his team together - all due to an astonishing survival story. 

Such was his fame that the following newspaper advertisement is attributed to him, even if no traces have been found to attest to the veracity of its authorship:

"Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success." Sir Ernest Shackleton. 

Even if all this episodic knowledge took up only a tiny area of our short-term memory, it would be better served by a bit of story-telling. So how would you complete the following text?

In 1914, Ernest Shackleton, the famous polar explorer, headed towards Antarctica in the Endurance. He and his twenty-eight companions intended to cross Antarctica …………… (1) foot.

However, their ship became stuck in the ice, and, ................... (2) it had been built for these conditions, ………….. (3) slowly crushed by the pressure of the ice. It was not possible ………….. (4) Shackleton and his men to travel over the frozen sea to the …………….. (5) land, four hundred kilometres away, because the ice was not flat and smooth. It was raised up into high ridges …………… (6) were often impassable. Moreover, the ice was ....................... (7) up into large pieces which moved ……………… (8) to the wind and current.

Shackleton after losing Endurance
..................... (9) their six months on the ice, Shackleton's men survived ………………. (10) eating their dogs, and penguins and seals …………….. (11) they could catch them. Eventually, they ....................... (12) Elephant Island, which was uninhabited. In a small boat …………….. (13) had taken from the ship, Shackleton and six of his men sailed for over eight hundred miles to …………….. (14) island where they knew …………….. (15) was a whaling-station, and therefore food, shelter and a radio. Their boat landed on the wrong side of the island …………….. (16) they had to climb a mountain range and march sixty kilometres …………….. (17) safety. Shackleton then arranged …………….. (18) a ship to collect his twenty-two companions on Elephant Island.

It is because ................. (19) his superb powers of organisation and leadership that ……….....…..
(20) his men survived this terrible experience.
(Adapted from Test Yourself for First Certificate, by Susan Morris and Alan Stanton)